Jusepe de Ribera and the Order of Christ: New Documents

Author(s): Jeanne Chenault

Source: The Burlington Magazine , May, 1976, Vol. 118, No. 878 (May, 1976), pp. 304-307
Published by: (PUB) Burlington Magazine Publications Ltd.

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 SHORTER NOTICES

making the white prancing horsesdrawings

on the right
of the andhis
I62O's provided the foreground
son with a solid foundation on
which picture;
fallen figures larger to frame the to pursue a lively artistic career. Bernardo's
clarifying tightly kni
the back-
ground into separate areas of camp tents,
figural units, landscape
his methodically and ele-
arranged compositions, and hi
phants; and reversing the position of the
habit of exploring fallen
the decorative elephant
possibilities to
of a limited number
provide balance and a directional movement
of figural poses were to be toward thetoright
absorbed by Valerio create spec
portion of the composition. By making
tacular these
impressionistic changes
scenes on the ceilings of in the
Genoese palazz
in the mid-165o's.
Stockholm drawing, Bernardo develops a narrative which permits
him to demonstrate his skill for portraying and balancing a calm
figure group on the left with the frenzied confusion on the right.
Figures which were abbreviated in the Budapest drawing are
Jusepedrawing
minutely detailed in the Stockholm de Ribera and
to the
theOrder of Christ:
extent that
the panoramic scene is almost completely finalized for the
Palazzo Bombrini fresco. New Documents
The complex arrangement and juxtapositioning of parts in the
squared drawing underscore the careful study put into the
BY JEANNE CHENAULT
Palazzo Bombrini fresco and perhaps account for its being one of
THE early career of the Spanish Baroque painte
Bernardo's most successful battle scenes. His ability for illustra-
Ribera, is still relatively obscure. Baptismal records
tion is at its best, and bits and pieces of composition and imagery
indicate that he was born in Jativa in Valencia have been
are imaginatively incorporated from other sources. Although the
published' and it is known that, as a young man, he travelled to
wounded foreground soldiers recall Perino del Vaga's Fall of
Italy, the earliest records of the painter in Rome having been
Giants in the Palazzo Doria, Bernardo obviously was impressed
discovered in 1969.2 Whether or not Ribera was a pupil of
by and sought to match the colour and Tempesta-like composi-
Francisco Ribalta, the Valencian artist who came to Italy in
tions of Tavarone's frescoes in the same palace. A specific paral-
about 161o and 'imported' the Baroque style into Spain upon
lel can be made between the figure grouping on the far left and
return to his native country, is conjectural.3 The major part of
the left side of Tavarone's Conquest of Antwerp, painted in I614 on
documentation of the artist in Naples, much of which is anec-
the ceiling of the adjacent room.13
dotal in nature, has been supplied by Proto-Giurleo.4 It is known
The frequent reworking of figure groups relevant to Gerusalemme
that in 1616 Ribera married Caterina Azzolino y India, daughter
Liberata also occurs in the Villa Scassi (Fig.54).14 The narrative
of a Sicilian painter according to Mancini, and apparently settled
compositions are neatly organized into compact figure groups
in Naples for the rest of his life.5
whose imagery relates to the mannered figures outlined in
Bernardo's Tasso illustrations and developed in the sketchbooks.
Composed of nine panels, the ceiling is similar to the planimetric
1 ELIZABETH DU GUi TRAPIER: Ribera, New York [1952], P-4. GONZALO VIRES:
compositions and ceiling designs of Tavarone, the Carloni and
'La verdadera partida de bautism6 del Espanoleto y otros datos de familia',
Fiasella. Also relating to the style of his contemporariesArchivo
is thede arte valenciano [1924], ano 9, pp.(18)-24. LORENZO SALAZAR: 'La patria
technique of a drawing in the Louvre (Fig.50)15 which eisla here
famiglia dello Spagnoletto, nuovi documenti', Napoli nobilissima [July
1894], v.3, pp.(97)-Ioo.
identified with one of two circular scenes on the Salon ceiling in
2 JEANNE CHENAULT: 'Ribera in Roman Archives', THE BURLINGTON MAGAZINE
the Villa Scassi. The intricate application of white heightening
[September 1969], No.798, CXI, pp.561-62. The documents of April 1615
to the figures in the drawing is indicative of a developing
and taste
March 1616, from the 'Status Animarum' of Santa Maria del Popolo, are
the earliest records of Ribera in Rome. Ribera, his brother Giovanni, and their
among the Genoese toward strong coloristic contrasts. Reflecting
household are listed as living on Via Margutta. A second document of May
the impact of such Lombard artists as Discepoli and Procaccini
1616, from the 'Libro del camerlengo' of the Accademia di San Luca in Rome, is
on Genoese artists at this time, the use of this technique to
a payment of dues. The third, a Vatican 'avviso', refers to a D(on) Gio: de
emphasize forms and movement provides a graceful element
riviera to
Canco who c. I63O accompanied the Queen of Hungary to Germany and
the narrative and adds to the monumentality of the drawing.
may be Jusepe de Ribera (see footnote 24). GIULIO MANCINI: Considerazioni sulla
pittura, Rome, Accademia Nazionale dei Lincei, I [ed. 1957], mentions Ribera's
Highly finished and complete in itself, the drawing corresponds
early travels through Lombardy and Parma prior to his arrival in Rome.
closely with the fresco. Changes, however, have occurred, the
There is also a letter written by Ludovico Carracci from Bologna, I Ith Decem-
major one being that Bernardo transformed the soldier ber
on1618,
theto Carlo Ferrante Gianfattori which indicates that Ribera may have
left into a bearded figure, a more appropriate one for the
worked in Parma: '. . . painters of excellent taste, especially that Spanish
Gerusalemme Liberata theme of the fresco. painter who follows the school of Caravaggio. If he is the man who painted a
Saint Martin at Parma, and was with Signor Mario Farnese, I need to be
In his relentless search for perfection and control, Bernardo
clever' (not to be surpassed by him). See TRAPIER, Op. cit., p.-7. LUIGI SCARA-
must therefore be remembered not only for his Tasso illustrations MUCCIA: Lefinezze de' pennelli italiani, Pavia [1674], mentions that Ribera went
and sweet portrayals of Holy Families, but also for these late to Parma and, in the manner of Correggio, worked in the chapel of Santa
fresco cycles and their preliminary drawings. It is these highly Maria Bianca.
3 ACISCLO ANTONIO PALOMINO DE CASTRO Y VELASCO: El parnaso espailol p
composed frescoes which helped perpetuate Genoese ceiling
decoration, filling the gap between the period of Cambiaso and laureado, Madrid [1716-241, III, p.3IO, states that Ribera was a
the new breed of Genoese artists who came into their own in the Francisco
enough toRibalta.
imply TRAPIER, op. relationship.
such a close cit., P'4, believes
The that
date their styles are
of Ribalta's no
trip
I630's. And while the often cramped, detailed draughtsmanship
has never been verified, but it probably dates from around 16Io-I2.
may have executed a copy of Caravaggio's Crucifixion of St Peter, wh
of Bernardo is unparalleled in the drawings ofValerio, Bernardo's
Santa Maria del Popolo, and sent this copy back to Spain. (See footno
Ribera's connections with the same church.)
4 ULYSSE PROTO-GIURLEO: Pittori napoletani del seicento [1953], publishe
Neapolitan documents including several references to Ribera: baptism
13 Repr.: La Pittura a Genova, p.298, fig.2 15. children, his witnessing of marriages, etc., all of which indicate that Ri
14 For frescoes in the 'alessian' Villa Scassi in Sampierdarena, see A. CAPPELLINI:
in Naples from 1616 through the 162o's. (Since he was married in 16
Ville Genovesi, Genoa [1931], pp.32-37. not clear why the baptism certificate of his first child dates from 1627
15 Louvre, Cabinet des Dessins, PF 10576. Pen and brown ink, brown wash,
I, dei Matrimonii, 1598-1616, fol. 13 records the date of the marriage
heightened with white, on blue paper, 165 by 165 mm. Attribution madeSeptember
by 1616. The document is listed in the Parrocchia di San Mar
Philip Pouncey. EDITH HOFFMAN (cf. FENYO, p.79, pl.45) has connected a
PROTO-GIURLEO, ibid.)
drawing, Scene in a Camp, in the Budapest Museum with Bernardo's frescoes 5inThe artist made at least one excursion to Rome (when he was recei
another room in the Villa Scassi which depict the story of David. the Order of Christ), and may have travelled north as well. (See footnote

305

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so. Insignia of' the Order of Christ of Portugal.

:< 57.~7- BeardedofWoman of the iAbrazzi: Magdalena Ventri, by Jusepe de Ribera. (Collection Duchess
Lermra. Toledo).

56. Habit of the Order of Christ of Portugal.

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 SHORTER NOTICES

Even in conjunction with thethebiographies

Order of Christ, in addition
of to Caracciolo and Stanzione,
writers such as
included Francesco
Mancini, De Dominici, and Palomino only MariaaVanni,12 Francesco Borromini,
minimal account o
Sebastiano
the young Ribera's activities and Conca, and can
travels Carlo Maratti.13
be reconstructed.
There are only a few generallyThere has been much
accepted confusionpaintings
early about Ribera's acceptance
whic
date from before 1626: the Osuna into the Order. Palomino states that
Crucifixion, this honour Pieta
Louvre was conferred
and,
perhaps, the Five Senses (such a upon
series was
the painter in referred
1644.14 In recentto by dispute
accounts, Mancin over
and the Sense of Taste may be the painting
chronology has been coupled withinthethe problemWadsworth
of dating the one
Atheneum in Hartford, Connecticut formerly
extant painting associated
which was signed by Ribera as a knightwith
of the
Order
Pietro Novelli), being the most of Christ, The Bearded There
significant.7 Woman, Magdalena
are,Venturi
in add of the
Abruzzi (Toledo,
tion, some early attributed works, such Collection
as the of theHecate
Duchess of Lerma, Fig.57),
in Apsle
one from
House, which are extant. Finally, of the earliest,
the if not the earliest,
early of his portraits.
years, there are
a number of prints: several of StThis grotesque depiction
Jerome, one of of theSt nursing woman and her
Bartholomew
and another of St Peter, two husband was commissioned
grotesque heads by theand
Duke ofnotebook
Alcala who, like
Philip
studies of ears, noses and mouths, allIV, of
was interested
which in date
the unusual
fromand maythe
have collected
early
portraits
i620's. In I625 the Duke of Alcali, of dwarfsthe
then and deformed
Spanishpersons.15 Ambassado
The grey column at
to Rome, wrote a letter stating that
the right Ribera
bears an 'in my
inscription explaining time had
that Magdalena, from
Acumdiit
begun to etch in Rome.'8 Although in the
has Abruzzi,
been was generally
thirty-seven yearsaccepted
old when she
that Ribera learned to etch in began
that to grow
citya beard.
inAtthe
the agetradition
of fifty-two she of
came th
to
Carracci,9 it is not known fromNaples
whom with one he
of herlearned to
three sons. The work
inscription in
states thatthis
the
medium. His precise whereaboutspainting during
was executed onthese
i6th Januaryearly years
1631 by AlcalA's ar
painter,
Ribera, 'knight
conjectural, although it is assumed that of the
he Order
had of Christ'.'6
settled in Naple
As early as 1916
in about 1616.10 In short, few paintings fromTormo y Monzoyears
the took into 1615,
consideration
whenthe
he is first documented in Rome, questions
until surrounding
1630 havethe date of Ribera'sascribed
been admission into the
to
Ribera and very little is known Order:of this formative period of h
artistic development. 'The exact date of this honour has long been discussed. Ribera
One document which has long been
himself, sought
however, because
gives indication of
of this with the general
inscription he
references made by Palomino is that
placed of Ribera's
on the painting of the Bearded acceptance
Woman, in the Collectionint of
the religious and military Order the Duchess
of Christof Lerma, Toledo, dated 1631 in which
of Portugal. Thehe signed
im
portance of the document is manifold: himself "Christi Cruce". it Many
underscores Ribera'
writers believe, however, that the
prominence as a painter, it indicates Papal Order of Christ was conferred
acceptance in upon
the Ribera by Pop
Eterna
City of a Spaniard residing in Urban VIII in 1644.
Naples and,Until a along
document iswithfound, this problem
simila
documents pertaining to Giovanni Battista Caracciolo and cannot be settled.'"7
Massimo Stanzione who were members of the same order, proves In 1952 Elizabeth du Gu6 Trapier wrote that 'the date at whic
the significance of the Neapolitan School of painting as having the artist received this order should have been 1631, or slight
been recognized by Rome and its papal patrons. earlier, if the inscription is to be relied upon, but it is also possibl
The Order (see Figs.55 and 56 for the insignia and habit), that Palomino is right in placing it in 1644.'18 In her discussion o
founded in 1317 by Dionysus I, King of Portugal, was in 1319 Juan Alfonso Enriquez de Cabrera, admiral of Castilla, who h
headed by John XXII who issued a bull of approbation reserving been Viceroy of Sicily and came to Naples in 1644 where he
the right for himself and his successors to confer knighthood.
During Ribera's lifetime, the Spanish King, Philip III, headed
the Order from 1598-1621 when he was succeeded by Philip IV Ibid., p.628. The white habit was to be worn in public. This Order prevailed
who was in command from 1621 until 1640.11 Other members of under the auspices of St Augustine (see the document itself). J. VAN DER VELD
The Ecclesiastical Orders of Knighthood, Washington, D.C., pp.44-46.
12 For Vanni's acceptance into the Order in June 60o3, see Ermete Ross
'avviso' published in Roma, XIV [I936], p.61. No documents concerning th
date of Caracciolo's acceptance into the Order have been found. MICHAE
6 (See footnote 2.) Ribera's early years are referred to briefly by SCANNELLI,
SCARAMUCCIA, BALDINUCCI, and JosE MARTINEZ. STOUGHTON: The Paintings of Giovanni Battista Caracciolo, Ph.D. thesis, Th
SThere is a question as to whether a painting by Ribera entitled St Jerome University
Dis- of Michigan, Ann Arbor [1973], p.6. Stanzione was received int
putes With the Hebrews in the Accademia di San Luca in Rome could be the theOrder in Santa Maria Maggiore in July 1627. See GIUSEPPE CECI: Archiv
entry work which gained for Ribera his admission. If so, it would probably d'Italia, serie II, anno IV [19371, pp.236-37-
have to date from around 1616 which would seem stylistically very early 13and
Borromini is mentioned by G. PASSERI: Vite, ed. J. HESS, Leipzig [1934
make this painting the first attributed to him. CRAIG FELTON: 'The Earliest(1772), p.363. Mention of Conca in connection with the Order is supplied b
Paintings of Jusepe de Ribera', Bulletin of the Wadsworth Atheneum, V,BERNARDO
No.3 DE DOMINICI: Vite de' pittori, Naples [1742-43], III, p.665. Fo
[1969], pp.2-29. Moratti, see WEsTIN and wESTIN: Carlo Maratti and His Contemporaries, Th
8 TRAPIER, Op. cit., pp.23-24. Letter (4th October I949) from the Marquis of
Pennsylvania State University [19751, P.4, which states that Pope Clement X
El Saltillo: Idem. Pinturas de Ribera, p.247. Albani conferred this Order which 'was the highest honor he could receive
from the Pope.' Orazio Borgianni, according to BAGLIONE: Vite, Rome [1642
9 JONATHAN BROWN: Jusepe de Ribera, Prints and Drawings, Princeton University
[19731, p.13, note 6. TRAPIER, ibid., pp.12, 13. Trapier compares two prints p.A34,
of was about to be given the Order through the efforts of the procurat
St Jerome, Carracci's from 1597 and Ribera's from 1621I. of the Spanish friars in Rome. Through the treachery of Borgianni's suppos
10 There are quite a number of documents recording Ribera's presence friend,
in Gaspare Celio, however, the title was given to Celio himself.
Naples from 1616 on. (See PROTO-GIURLEO, op. cit., and footnote 4.) (Examples 14 PALOMINO, op. cit., v.3, p.3I I; v.i, p.I52. TRAPIER, op. cit., p.72.
of these documents would be Ribera's witnessing the marriage of Lucas Castaldo15 ELIAS TORMO Y MONZO: Varias Obras, Madrid [1916], v.24, pp.I2-I7. Th
in July 1623.) Most are insignificant except as proof of the artist's presenceOrder
in was apparently conferred upon Ribera by a Bishop, although th
Naples after I616. document is one of the 'Brevi' of Urban VIII.
11 See Figs.55, 56. BERNARDO GIUSTINIANI: Historie cronologiche dell'origine1e The inscription reads: Josephus de Ribera His Panus Christi Cruce. It is interest-
degli
ing to note the use of Ribera's name in Latin form, Josephus, as this is used in
ordini militari e di tutte le religioni cavalleresche, Venice [1692], (Parte seconda),
p.633. The Order was international and included, in the late seventeenth the signature of the early attributed painting of Hecate in Apsley House. The
century, about 8oo members, many of whom were from the nobilityname (see is repeated in its Latin form on a list of initiates which follows the Latin
footnote 22). In addition to Italy, Spain, France, Portugal, England, Hungary, and Italian documents. (See footnote 20o.) The first name usually appears as
Bohemia, Switzerland and Africa, the kingdoms of Naples and Sicily Jusepe
were (or Gioseppe).
listed individually. The symbol of the Order was a red cross surrounded17by
TORMO Y MONZO, op. cit., pp. 11-40.
18 TRAPIER, Op. cit., p.72.
gold in the middle of which a straight white line ended in the arms of the cross.

306

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 SHORTER NOTICES

remained until 1646, Miss Trapier, expressing

The shorter document, doubt
written in Neapolitan Italian, isand
an con
fusion, suggested that 'possibly anonymous
it was through
recommendation the
of the artist and Viceroy's
was probably sent good
offices that Ribera received the Papal
to Rome Order
from Naples. It is significantof Christ
in its assertion bestowe
that Ribera
wasPalomino."'9
upon him in I644, according to by 1626 a renowned painter. As
Now it recently
will be necessary to as I97
C. Felton has claimed that 'the date of
start looking for 1631 isearly
more of those perfectly
paintingswhich enabledclear
him and
is in the same hand as the other lines
to be called of the
'pittore eccelente' and hope inscription.
that they still exist. The Thi
statement probably has nothinglonger
to Latindodocument,
with the papal
a routinely-recorded honour
contract, contains and
may be Ribera's way of affirming his
several interesting piety
statements includingin view
the inaccurate of such
reference
profane subject.'20 to Ribera as 'sprung of noble stock.'22 We learn from it that the
The following are transcriptions
Order was of the
conferred recently
in Rome at St Peter's on 29thdiscovered
January
documents.21
162623 by 'the venerable brother, the Bishop of ......................',
(the latter reference frustrating in its careless lack of completion).
Gioseppe di Rivera Pittore eccelente (e) residente in Napoli humilissima creatura della
That Ribera's initiation into the Order of Christ can
sanita vostra humilmente la supplica a fargli gratia di ornorarlo della Croce di Cavaliere
thus be
established as 1626 would indicate that the portrait
di Christo concessa ad altri Pittori eccelenti, poiche per tale e stato cognosciuto essere of Magdalena
(creduto?) si nella Accademia di S. Luca di Roma nella quale si veneno am(m)essi solo
Venturi
i pittori che si son(n) o hauti per tali, come anco dalla testimonianza che ne fara fare
was probably executed some five years later in 1631
rather than 1644 and that the 'Christi Cruce' does indeed refer to
bisognando da chi si ordinara, e il detto ricevera a gratia ............ . dalla santita
vostra quam Deus, etc. Valentiano. that acceptance. The probability that Ribera may have been the
Dilecto filio Josepho de Rivera Neapolitano
person listed as 'D. Gio: de riviera, Can(oni)co', who travelled
Urb(anus) P(apa) Pontifex (?) north in the retinue of the Queen of Hungary in 1630,24 is
increased somewhat by the establishment of his previous entry
i Dilecto (filio) etc. Religionis zelus etc. inducunt etc. consulamus. into the Order.
2 Hinc est quod nos volentes te qui, ut asseris, de
3 nobili genere procreatus exis(tis) quique ob melioris There are still many unanswered questions concerning Ribera's
4 vitae frugem in militia Jesu Ch(ris)ti sub r(egu) la Sancti
5 Aug(usti)ni una cum dilectisfilys illius mag(n)o mag(is)tro seu
general stylistic development (especially with regard to his
6 Admin(istrato)re etfr(atr)ibus militibus sub r(egu)lari habitu virtutum assimilation of tenebrist technique as well as Venetian and
7 D(omi)nofamulari desideras, in h(uius)modi tuo laudabili Bolognese influence), his workshop, and his possible collaboration
8 proposito confovere, seque* praemissorum meritorum
9 tuorum intuitu spe(ci)alibusfavoribus et gratyjs prosequi
with his brother. Although these two documents supplement our
Io et a quibusvis etc. censentes, supp(licationi)bus tuo ...?... (nomine in- information about the artist's initial period of artistic develop-
i i clinati) tibi ut a (venerabilifratre Episcopo .. . .) ......................, cui ment, further archival research is needed, especially for the early
12 ad hoc plenam per p(raese) ntesfac(ulta) tem tribuimus accitis et
13 in hoc sibi assistent(ibus) uno seu duobus d(ict)ae militiaefr(atr)ibus years.
14 quem vel quos (ad hoc) duxeris eligendum seu heligendos, h(ab)itum
15 per fr(atr)es d(ict)ae militiae gestari solitum suscipere, illumque
16 publice gestare, ac in illius manibus professionem per
17 eosdem emitti consuetam expresse et incontinenti 22 Ribera was the son of a tailor, Sim6n Ribera, and certainly not of noble
18 post h(ab)itus h(uius)modi susceptionem emittere reg(ula) rem; nec non blood. (See footnote I.) TRAPIER, op. cit., p.4. There was probably some con-
19 postquam h(ab) itum h(uius) modi susceperis et professionem fusion over the fact that the Duke of Alcald, Viceroy of Naples from 1629 to
20o emiseris ut p(raefer) tur, omnibus et singulis privil(eg) Ys 1631, was named Fernando AfAn de Ribera and came from a prominent
21 immunitatibus exemptionibus et praerogativis (concessis) quibus Neapolitan family of the same last name. (See footnote 8.) The Duke of
22 alij militiae h(uius)modi equites et (iam) qui h(ab)itum a Rege Alcald was ambassador to Rome at the same time that the painter was accepted
23 Portug(alli)ae d(ict)ae militiae perp(et)uo Admin(istrato)re per Sedem into the Order.
p (raedic) tam
23 The documents, as stated in footnote 21, are to be found in the Brevi of
24 deputato susceperunt et professionem (in illius manibus) ...?... emiserunt,
25 dejure usu statuto consuetudine aut alias quomodolibet utuntur Urvan VIII. (See footnote 12.) The Order was not always conferred at St
26 fruuntur et gaudent, ac utifrui et gaudere possunt Peter's. Stanzione received it in Santa Maria Maggiore. Ribera was probabl
27 et poterunt quomodolibet in futurum, pari modo uti in Rome a short time to receive the Order as he is documented in Naples by
28 frui et gaudere libere et licite possis et valeas JosE MARTINEZ in 1625 (see Discursos practicables, Madrid [1866], PP.33-34)
29 apo(stolica) aucto(ritate) te(n)ore p(raese)ntium conced(imus) et indulgemus Non and again on 3rd May 1626 when he is a witness to the marriage of his pupil
30 obstant(ibus) const(ituti)onibus et ord(inationi) bus apo(stolic) is ac de militiae Giovanni Do, (Libro I, Matrimonio, Parrocchia della carita).
(equitibus) etc. 24 CHENAULT, Op. cit., p.562.
31 roboratis statutis et consuetud(ini) bus privil(eg) js quoq(ue) ind(ic) tis
32 et his apo(stolic) is eidem militiae ...?... magno mag(is)tro
33 Snr. (?) Admard(o) et quibus militibus alijsque sup(er)ioribus
34 et personis sub quibuscumque ...?... etformis ...?
35 ..........?... omnibus ...?... quibuscumque. Datum Romae
36 apud S(anctum) Petrum etc. die 29 Jan(ua)rii 1626 a(nn)o D(omin)i.
37 similis (?) pro Benedicto Canti (?) Cortonen (?)
38 similis pro Joanne manieri (?) Politianen(?)
Unpublished Works by Matthias Stomer
*se apparently an error for eum 'he' (referring to St Augustine) BY DIDIER BODART

I WOULD like briefly to draw atten

paintings by Matthias Stomer. The
sions in spite of coming from the s
19 Ibid., p.184. JUAN AGUSTIN CEAN BERMUDEZ: Diccionario historico, Madrid are in the Casadei Collection, Rome.
[ I 8oo], v.3, p.'88. of the Shepherds and the Annunciation
20 CRAIG FELTON: Jusepe de Ribera; A Catalogue Raisonne, Ph.D. thesis, Uni- (Fig.58)1 is related to the picture in
versity of Pittsburgh [197 1], p. 198. This opinion is obviously misguided, although Vaduz, but here there is a young
it is interesting to note that the portrait of Magdalena Venturi is the only work
we have which was signed by Ribera as a member of the Order. Felton's hands are held differently. The V
comment about 'different hands' is irrelevant to such an inscription in Latin model as the Vaduz painting, only
lettering. slightly altered. The version of t
21 Both documents are to be found in the Vatican's Archivio Segreto, Segre- Civico, Turin seems by comparis
teria dei Brevi (Urbanus VIII), v.709, fol.488, 488 reverse, 490. I extend my
appreciation to the Segretario of the Vatican Archives as well as to Prof
Vaduz painting. The Casadei pic
Ralph M. Ward of the City University of New York, and Dr Eugenio Battisti
and Joseph McCarthy of the Pennsylvania State University for their evalua-
tions of the difficult script and dialect which they described as 'tired Latin and 1 D. BODART in Mostra di quadrifiamminghi e
Neapolitan slang'. Rome, Galleria Gasparrini [1973], No.73.

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